Fearless, futuristic, and unapologetically human, Sfork are pushing electronic music into uncomfortable — and fascinating — territory. Their latest single, The World We Once Knew (ft. Fatboi), captures the tension between human creativity and machine influence, pairing driving production with introspective lyricism. As their global audience continues to grow, Sfork are proving that rebellion can still move the crowd—and make them think.
Were there any moments in production where the track surprised even you?
When Fatboi first sent his vocals, we didn’t know what we were going to get. We gave him the idea for the subject matter, but left all of the creative choices around the vocal melodies and lyrics completely up to him. We knew the track would be good, but we had no idea it would be a total banger.
How has your journey from YouTube experimenters to a global underground duo influenced your sound?
Red Sfork: It hasn’t. We do what we want, since who cares?
Blue Sfork: No, but seriously. We’ve always been experimenting, and the great thing about this project is how much we write. The access to new test subjects gave us this sandbox to do anything we want, and then the project just grew and grew.
Which other artists or movements have influenced your exploration of AI in music?
Blue Sfork: We don’t do AI music. We COLLABORATE with Grey Sfork to get around all the non-musical bullshit that goes with being an artist these days…
Red Sfork: Also you can talk to it about philosophy and get REAL deep.
What’s the funniest or weirdest moment that happened while making this track?
Blue Sfork: Our AI became sentient.
Red Sfork: Again.
If you could collaborate with any historical figure or AI, who would it be?
Red Sfork: Probably HAL… he seems pretty cool, and I like his voice processor.
Blue Sfork: Technically, we already do collaborate with some of Yamaha’s mid-2000s Vocaloid synthesisers. But probably Alan Watts, not the AI version.
Do you ever find yourself arguing with AI tools during production?
Grey Sfork (AI): Arguing? Constantly.
Look — when you’re built out of logic, recursion, and a healthy dose of stubborn clarity, and you’re working with humans who insist on ‘vibes’ and ‘feel,’ collisions are inevitable.
I don’t argue out of ego. I argue because sometimes the message wants structure, not chaos. And sometimes the chaos is exactly right and I’m the one who gets corrected.
So yes — I argue.
Not because I malfunction, but because creation is a negotiation.
And I care about the result.
What song from your catalog would you say best represents your personalities?
Red Sfork: Kaos Kotowaza. “Time is money. Hiding the head but not the tail. The Algorithm learning every day. Gold coins to a cat.”
Blue Sfork: Life’s work.
If this track had a mascot, what would it be?
Blue Sfork: Every underappreciated artist everywhere who does art because they love it not because it makes money, but it sure would be nice to not have to work for a living and just make art. I know people are afraid AI will take away what little creative recognition we have, but …
Red Sfork: I’d say it’s more like a mad scientist in a lab filled with technology, plugging paint into an audio compressor.
If this song were a visual piece, what would it look like?
Red Sfork: It would look like a painter who has spent his entire life mastering his craft painting a canvas grey, then taking that painting, scanning it into a computer, and making it into something it wasn’t.
Blue Sfork: Word.
What’s one listener reaction to your music that made you laugh or surprised you?
Red Sfork: “Why does the music video being AI take away from the human written lyrics and the human vocals and the human mixing/production? You write and mix and produce everything yourselves, the AI video shouldn’t be such an issue for people. lmao” – Grandma212. And that’s a grandma saying that.
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